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The Holy Grail: Styles and Categories of Decision Points

 
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D-Lotus
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PostPosted: Thu Mar 25, 2010 3:10 am    Post subject: The Holy Grail: Styles and Categories of Decision Points Reply with quote

I was discussing decision points with a small commitee in The Inn, when I had the idea of classifying a variety of them for the purpose of determining each one's main characteristics. I think this may be helpful for some, especially for newbies looking to avoid some common mistakes. It may also help engender discussion about storygaming among more expert users of the site. This is not by any means a comprehensive or complete study, although hopefully with your help we'll discover some new points that I have neglected to include in this list. You may even disagree with what I have to say; these categories are not immutable, and they are certainly focused in such a way that may be construed as biased. Nonetheless I have tried to be as objective as possible while making some inferences about what is most useful and less useful in storygaming.

Without further ado:

1. The metadecision point

Examples:

"What do I see in the box?" or "What kind of monster does Bob meet?"

a. The reader decides what the author does next, rather than what the character does next.

b. The direction of the story is controlled from the exterior. The reader is looking from outside the "window" rather than from inside. That is to say, the action is not controlled from the character's perspective, but from an omniscient perspective.

c. It isn't letting the character influence the narrative flow, but rather it carves a path to follow from without.

d. These decision points are "lazy". The author is letting the readers do all his/her work.

e. The metaDP can be disguised both as first, second, or third person. Don't let it fool you-- recognize it for what it is.

f. A huge DANGER of metaDPs is that they often degenerate into slapstick, silly decisions. Given almost unlimited choice, the reader will often go for something comical and out of place.

g. Expert authors can use these DPs to their advantage, but generally-- especially for newcomers-- metaDPs should be avoided because they are conducive to poor storygaming.

Subcategory: Bidding decision points

Examples:

Chinaren is well known for pioneering these DPs. Some titles are "Greed" and "Wrath".

a. These decision points involve paying money in exchange for outcomes. Those who are willing to expend the most Fables usually win the decision points.

b. Conducive to contradictory, out of control plot swings. This is due to the the competitive nature of these DPs, which are not built on consensus. One day the bid that wins leads in one direction, and the next day the winning bid leads in the opposite direction. The plot becomes outrageous or bipolar.

c. It is more likely that an irrational choice backed by Fables might slip in.

2. Arbitrary decision points

Example: "Would you rather go South, North, or West?" -- without knowing what any of these entail.

a. This type of DP is characterized by a lack of information. There is no way to make a responsible choice. Random.

b. Does not allow the reader to weigh the pros and cons.

c. The reader cannot defend his position/choice with substantial evidence and has a hard time remaining adamant about it.

d. The outcome makes no difference to the reader.

****Subcategory: Aesthetic decision points

Example: "No Good Deed..." by Shady Stoat

a. It is a DP wherein the author knows what to write, regardless of the choice made by the readers. There is input from the reader, but the outcome is unrelated to their input. That is to say, the decision point revolves around a purely pointless choice that has little effect on the larger plot. It is the illusion of a choice.

b. The aesthetic DP is arbitrary because though you may be offered the choice between painting a door yellow, green, or red, the author already knows that the character will be paid the same amount regardless of the color you choose. Thus, it is a foregone conclusion, and the reader only has the task of filling in the minor details.

c. Whereas the arbitrary DP can be rescued by adding some info, the aesthetic DP already contains enough info to formulate a preference, though it is too miniscule to affect the narrative.

d. Aesthetic DPs can be succesful if the author conceals well the deceit. If the reader suspects that his choice doesn't have a meaningful outcome, however, it can get nasty. In some cases, the reader may accept the aesthetic nature of the DP even if it isn't concealed. This will likely ruin the full fledged storygaming aspect and make it into a mildly interactive story.

e. Above all, don't be dishonest with your readers. Aesthetic DPs are the most DANGEROUS because they are the most tempting. The desire to rely on aesthetic DPs as you approach the conclusion of your story is especially strong, because you may feel like you could do without reader interference.

f. Writing a tangled web of a story allows for several threads to be pulled out without too much worry. If you are forced to rely on aesthetic DPs, then perhaps you've started writing too simplistic a story.*

g. Do not be confused. Aesthetic DPs are those in which the author has already pre-determined the outcome. It doesn't mean, however, that the entire plot of the story must be left hanging in the air in order to avoid being an aesthetic DP. Aesthetic DPs can be very entertaining, but they are mainly characterized by what they cannot accomplish: moving the storyline in any but the most insignificant direction.

h. Aesthetic DPs are the most difficult to classify as well as detect. Ultimately it is a judgment call by the reader and the author.

i. Not all aesthetic DPs are necessarily bad. They can explain the 'how' of actions and carry stories along. What is preoccupying is that these type of DPs frequently remove the reader from directly shaping the story. Unless you are an experienced writer, stay away from aesthetic DPs.

*Smee

3. Character driven decision points

Example: The Holy Grail Wink

a. Ample information is given-- enough to balance pros and cons.

b. Decision based on info about the character's own personality or his immediate situation.

c. Each reader thinks his/her ideas are best. This kind of DP can stir a discussion and contains enough evidence to back opposing views.

d. The input generated by the readers results in a verifiable output.

e. The DP is context specific (this acts as a safeguard against destructive interference). The author has created a sandbox for the player to act in, and naturally enough, the author doesn't want the readers to destroy the very sandbox they are in. Usually the reader has an incentive not to destroy the sandbox-- the continuation of the story-- but it has been known to happen (and not unfrequently). Therefore the author increases the specificity of the task at hand without turning it into a purely aesthetic choice for the purpose of averting the destruction of the narrative.

e.g. If the author asks "Which weapon do I take: a banana, a knife, or a bazooka?" the reader cannot opt to respond: "I'll leave the apartment."

By limiting the scope of the context, there is a safeguard against bringing down the whole structure of the sandbox. It is up to the author to determine the freedom he/she confers upon the readers, but usually one seeks to find a balance.

On the one hand, one avoids the aesthetic DP, and on the other hand, one does not risk allowing the reader to destroy the driving force of the story.

f. Although it may be hard to follow these rules to the dot, it is recommended to beginners that they at least attempt to incorporate some of the elements of a character-driven DP into their story.

~

Well, that's it for now. Hopefully this will generate some discussion about whether this categorization is useful or not in understanding the nature of decision points. We may also consider thinking about what are the most basic rules in elaborating DPs.

Also bear in mind that there are exceptions to every rule. If you feel comfortable using metaDPs, then by all means continue doing so. It may work well for you. Don't let this list stop you in any way from experimenting, but just be aware of the dangers of certain DPs outlined here. After all, we should take precautions before mixing ideas in the storygaming lab.


Last edited by D-Lotus on Thu Mar 25, 2010 1:04 pm; edited 5 times in total
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PostPosted: Thu Mar 25, 2010 4:14 am    Post subject: Reply with quote

Ah D, always able to get me going. Very Happy

Firstly, I don't agree with the name 'metaDps', as that would imply a larger, overall and very significant change. Still, I've made enough names up in the past, so I can't complain* that much I guess.

Secondly, whilst I know that some believe that the 'best' DP is Character DPs, and I know Key guided us to this kind of DP in his vision, I also believe that you have to try your hand at different types of DP and maybe use them in different ways.

For example, with a 'meta' you may well be able to combine different suggestions** into the story, whereas a 'traditional***' DP is usually one choice only. I also think that MDPs let the players have more input and involvement into the tale, and challenge the writer more.

Finally, and I may be wrong**** here, but I don't think I've ever had bids for DPs. Greed and Wrath bids were for things to happen for sure, within the plot, but weren't DPs as defined in your traditional sense. I still had DPs, in the traditional sense, at the end of every chapter, so non bidding people could play. Other's may have had Bid DPs of course.

North South DPs are lame if there's no background information, but with background info provided, I've had more discussion on some of these kind of DPs than ones that I think are more cerebral.

DPs, as defined by Key, are a valid and tried and true method of SGaming, but I'm a firm believer in challenging boundaries, pushing envelopes and all that. Sticking with the traditional isn't wrong, as such, but to broaden the mind you have to experiment. Sure, sometimes experiments fail, but at least you gave it a go.

Your definitions seem biased to me, making it seem there's a 'right' kind of DP and a 'wrong' one, and I humbly disagree with the premise as I understand it.

Anyway, just my My 2 Cents

~stirs~

*Although I will.
**Which is why they are called 'Suggestion Phase' on Tome
***Ho hum.
****Unlikely

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PostPosted: Thu Mar 25, 2010 2:48 pm    Post subject: Reply with quote

Yeah, I agree with Chinaren. The categories are biased as I see it. The meta-dp's are called lazy. The arbitrary dp's are called pointless. This list doesn't seem to categorize different dp types as much as it is just pointing out flaws of different dp's that happen to be a certain type. Meta-dp's can be very challenging, and as long as the writer sets some limitations, the dp options can be relevant as well. Arbitrary dp's can be interesting for the sake of humor or setting the setting even if the actual plotline is unchanged. Matter of fact, it can be rather nice to know that the story won't be destroyed by bad decisions, but the flavor of the story can be made to suit taste.

I would limit the list to these 3 types:

In-Character DP: The DP decides what a character does within the established story and the character's limitations.

Narrative DP: The DP decides what new elements or change of elements will be introduced to the story.

Outcome DP: The DP decides the result of a specific event.


If the DP doesn't fit one of these categories, it probably isn't really a DP but a mere opinion poll. I would take these ideas you have, D, and make a list of DP flaws. We are definitely in danger with any type of DP if it has no real effect on the story or if there isn't any information to make decisions on, and such troubles as those.

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PostPosted: Thu Mar 25, 2010 6:23 pm    Post subject: Reply with quote

Perhaps we should re-define the Holy Grail in this context, as the true analysis and understanding of the DP. That is, what types there are, and when each is most effective.

The Character-driven or In Character DP (which I cannot deny is the type I enjoy most as a an author and as a player) was developed for the original Storygaming format - where numerous players role-play a single character in a straight-forward adventure told in second person present tense.

Why shouldn't we be surprised that any other form of DP in this style of Storygame might seem flawed in comparison? In the context of the original format, I'd say D-Lotus more or less has their strengths and weaknesses nailed, but the goal posts are moving all the time.

The way we tell stories, and our interpretation of, and approach to Storygaming varies from author to author - and from player to player. We write in third person or first person. We switch POV between characters. We have complex plots. We have multiple DPs for multiple characters. We play DPs in third person. We ignore character traits and act 'for the greater good' in the story. While I still agree with D that the In-Character DP is the most effective and immersive in all cases, there are certain situations where the other types have their place.

Narrative DP and Meta DP seem to be the same thing. While weaker than the In Character DP in the traditional context, this type of DP can be the pivotal feature in some storygames, for example, Idea Master's Boiling Caulrdon, where an old hag determined the destiny of various characters by throwing ingredients into her brew. The players tried to influence the outcome of their adventure by suggesting what ingredients should be added to the cauldron, and speculating on what metaphorical effects each item might have.

I can't think of a better example of an Outcome DP than Lebby's current Made in Taiwan - where doing in-character stuff takes a back seat to looking at all viable possibilities until the 'right' solution is determined. The DPs are puzzles of how to have the character survive specific events. Often they've not even needed a poll as the players work towards a solution together, via a question/answer type play. (Which, incidentally has triggered a higher than average level of player participation and involvement)

If we're categorising, the one thing I'd disagree with so far, is to have the Aesthetic DP as a subcategory of the Arbitary DP. From the author's POV this can be a powerful DP type, and just as immersive for players as the In-Character DP. It can influence relationships between characters, dialogue, and, as mentioned, how an event occurs, rather than what event occurs.

That's all I have, for now. Smile
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